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Everything posted by tchaikovsgay

  1. Thanks, so the lubricant cannot fix an ill setup
  2. Thanks, I'll try determining what causes it first
  3. @GeorgeH I will choose a bow that weighs between 58 - 62g
  4. Hi. Two of my bows (beginner quality) have a stuck frog. It's so annoying as sometimes the screw will eject when I practice. I always loosen the hair on a bow before putting it away, therefore the stick has not loosen flexibility yet. One day. I saw online that Hilary Hahn has a bow lubricant in her violin case: https://www.thestrad.com/what-do-violinists-sarah-chang-and-hilary-hahn-keep-in-their-instrument-cases/6544.article "I also carry a wash cloth, a metronome, bow lubricant, business cards, lip balm, tictacs... the list goes on!"—Hilary Hahn Then I found out (and asked my teacher) most violinists never lube their bows. Everyone says it can mess up the bow. But to me, a stuck frog sounds like a stuck peg (I use the peg compound W.E. Hill HILL-ZW-97), if it is the case, what type of lubricant do you recommend? Liquid? Solid? Saw these online: https://www.ebay.com/itm/Rodney-D-Mohr-violin-viola-cello-bow-screw-eyelet-fine-tuner-adjusters-lubricant/163354168021?hash=item2608aacad5:g:9CsAAOSwzThb3pT- https://guitarpartsandmore.com/Product.php?Lubricant-for-Violin-Bow-Screws-1663 Thank you
  5. Hi. I have finally saved up about GBP1000 to get a better bow. My current bow is beginner quality (less than GBP250), which was constantly criticized by everyone for a long time. (my violin is about GBP3000 though; intermediate price?) Now I've practiced and studied a lot every day, I think it would be reasonable for me to upgrade to a better bow before starting my Masters degree in September. Although I have been hardworking, I never have a lot of experience of buying violin accessories (or interacting with luthiers and bow makers), specifically bows. To be honest, when I look at the bows online, they all look the same to me https://www.martinswanviolins.com/violin-bows/violin-bows-low/ https://www.corilon.com/shop/en/bows.html staring at these pages for a few minutes, I couldn't tell any differences apart from the price; they are just with different designs??? Last time I get a bow, I bought one for GBP100, and when I use it during the lesson, my teacher was really angry. He pointed out the winding is dirty and poorly made. He also guessed it correctly that the seller "gave me a discount" (the seller says the bow is worth GBP150 but sold me for GBP100); he thought I was being ripped off. That bow has a very heavy tip (for my skinny arms), and I never used it anymore. So, I tried to get as much info as I can. I won't lie to others but I don't want to be tricked either. Now I understand what materials can be used to make bows, but there is not much info on selecting bows online. A few questions are: German bow vs French bow? modern bow vs antique bow? Thank you P.S. sorry for the chaos caused in my previous post, I won't talk about NSFW stuff again publicly, as someone inboxed me and gave me some good advice and solution, thus not everyone likes to see NSFW stuffs in a strings board, I understand Edit 01/06/2019: Me and my family came to a decision: we fix the problems on my current GBP3000 violin (strings overlapping in pegbox) and GBP250 bow (straightness), thus continue using them before I saved enough money, and most importantly, have enough experience to identify good instruments; there are a lot of scam "teachers" who sells you things and irresponsible dealers from my country. When I'm really ready, I'll go to Martin Swan.
  6. Thank you for the encouragement and tips! Currently, I'm still working on Kreutzer, so Paganini would be soon afterward; I'll try to look at the double stops of them.
  7. I admire those who can improvise well. I took a jazz course during bachelor and I improvised like crap
  8. Well I was asking a SERIOUS question, people were not open-minded enough to answer politely, fine, I understand not everyone are comfortable to talk about it. And I realize it might not be the best forum to ask this question, so I didn’t object my post from being deleted. But, you say I’m a troll? And you have to block me just because you are so close-minded to include sexual behaviors as part of your life (my question was TOTALLY related to my practicing, you have no idea how painful it is not to practice for almost a month). This was absolute a personal attack. Back off.
  9. I started to love playing the violin after I discovered Hilary Hahn, and wanted to become a pedagogue after I watched more and more videos of Kurt Sassmanshaus
  10. University violin student I want to become a pedagogue
  11. Thanks, everyone! I'm recovering rapidly as I found a good Chinese doctor. He identified the precise location of my arm injuries and used some Chinese massage and herbal dressing to speed up my recovery. Currently, he limits my practice time per day up to 2 hours (with a long break each hour), and I practice in front of a big mirror to check and maintain a healthy posture. Of course, I want to practice 5 hours per day (ideally) but I guess we have to trust and follow doctor's orders!
  12. Hi. I try to follow a strict 3-hours practice routine (with 10 mins break every hour) and seldom slack. But I was injured previously and didn't even notice when I injured myself. I don't get it? If I stop, then I'm slacking? But if I don't stop, then I might get injured, which requires more rest / limited playing??? How do you guys know when to stop? Thank you
  13. Hi. I used a standard shoulder rest and never feel good. Last year, I watched a lot of violin videos and practiced a lot, and discovered the option of assisting violin hold; different shoulder rests, higher chinrest, foam shoulder pad, foam chin pad, sponge, towels, and even the ridiculous "happnex". Afterwards, I changed my setup to Bonmusica shoulder rest + sponge on normal-height chinrest + towel which wraps both the chinrest and shoulder rest. It is very comfortable, I just turn my head a little bit left, don't even need to nod: the violin is held stable and comfortably. Vibrato and shiftings became easier, the towel absorbs my sweat (I'm a sweaty boy) and the shoulder rest hook provides extra fulcrum for me to use even less effort to hold the violin. It also has the perfect angle on the shoulder and the string is parallel to the floor. But my teacher thinks the shoulder rest is too heavy, and the sponge & towel absorbs the volume of the violin. I went back to just a normal-height shoulder rest, my neck feels tired quickly. I don't know what should I do. I trust my teacher considers the best of me though. Thank you
  14. Double stops has always been my weakness, but, my teacher gave me this piece (I don't know why) for an audition. Anyways, I can never dodge double stops, I just have to face it and train it focusingly, maybe with Kreutzer etudes?
  15. My new discovery from the previous months is one gotta be flexible in both practical and theoretical aspects; when I posted this thread, I was too caught up with the calculation (theory) of each note in double stops (or in your case, harmony with others) that I forgot I have a natural ability to hear whether the notes are in tune. I try to sometimes trust my instincts, and sometimes calculate if things get too complicated currently.
  16. Yes, both the marked one and the one in the question are minor 6ths. So you think A♭ should be higher (than in Pythagorean) in order to form a Just minor 6th with the C. why? *the accompaniment is playing D F A♭ C A♭ is the 5th of the chord, so it's less important than C?
  17. Yes. Some people can just find the correct sound by listening, but some are not so good at that or need some extra guidance to confirm we're going in the right direction (like me)
  18. Of course, it would be a fudge to calculate this for all double stops, but I have horrible intonation for double stops, so I try to find the correct spot by using this method. For the open strings, Perfect 5ths are the same in both Pythagorean and Just (I made a chart)
  19. Hi. I understand we playing double stops using Just intonation instead of Pythagorean, but sometimes I have no clue which notes compromises which note... for example, from 1st Movement from Violin Concerto No.1, Op.26 by Max Bruch: Photo 1 (I hope this is correct): There are three double stops. D&B♭, C&A, B♭&G. D&B♭: D is an open string, so B♭ should be played higher (than in Pythagorean) in order to form a Just minor 6th with the D. C&A: A is an open string, so C should be played higher (than in Pythagorean) in order to form a Just major 6th with the A. B♭&G: G is an open string, so B♭ should be played higher (than in Pythagorean) in order to form a Just major 6th with the G. *I compromise non-open string pitch-classes to the open string ones because this allows sympathetic vibration (the point at which the note is exactly on pitch, the open string with same letter name vibrates freely) Photo 2 (I have no clue): Analyzing the double stop with the up-bow mark: There is one double stop, C&A♭. Neither of them is open string pitch-class, so none of them allows sympathetic vibration; should I play a higher A♭ or a lower C (than in Pythagorean) in order to form a Just minor 6th? And why? Thank you P.S. the piece is in G minor
  20. I tried 3rd phalanx and it feels really good I feel like Hilary Hahn :3
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